M.V. Dhurandhar was an Indian artist born in 1867 who helped establish classical applied art in India. In 2018, the National Gallery of Modern Art in Mumbai held an exhibition curating by Suhas Bahulkar to honor the 151st anniversary of Dhurandhar's birth. The exhibition displayed Dhurandhar's paintings, sketches, and other works that documented Indian culture and society over his 50-year career. As one of the first students and later a professor at the Sir J.J. School of Art in Mumbai, Dhurandhar helped develop the "Bombay School" of art through his blending of Indian traditions with Western academic styles introduced by the British. The exhibition and its catalog

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Artist ‘Dhurandhar’ the originator of
‘Refined, Classical Applied Art in India’!
M. V. Dhurandhar’s one hundred and fifty first
birth anniversary was celebrated in 2018. NGMA-
Mumbai had organized an exhibition under the
able curatorship of Suhas Bahulkar. This research
article examines the finer points of Dhurandhar’s
work written in Marathi by Ranjan R. I. Joshi.
(Marathi version first published in ‘Shabda Ruchi-
Diwali issue by Granthali Publication-Mumbai,
October –November 2018.)
Artist M. V. Dhurandhar was born in 1867 in Mumbai and passed away at the
same place in 1944. All five floors were occupied by display the work of M. V.
Dhurandhar at the NGMA-Mumbai, the exhibition curated by artist Suhas
Bahulkar titled ‘Romantic Realist’. (From 11th September to 13th October -2018).
Government of India-cultural ministry and archeological department of
Maharashtra, Delhi Art Gallery, Swaraj Archives, Rajan Jaykar collection, Sir J. J.
School of Art and Dalvi’s School of Art-Kolhapur had supported this exhibition.
Indian Art has evolved through the thousands of years through various styles in
visual art. The aggression of foreigners who brought with them different art
forms ultimately rooted here in the course of time. The Primitive civilizations of
art forms, cultural Mohan-je-daro, Haddapa and the local visual vocabulary
merged in course of time resulting in hybrid art form. Examples could be Warli,
Madhubani, Rajasthani, Mughal-Persian, Dakhanni, Pahari, Basoli, and Kangra
art styles developed through cultural synthesis till today.
The originally two dimensional art form of the Indian Art changed into entered
modern age three dimensional art form during the British Empire brought the
Greco-Roman here. Classicism through academic style Artist M. V. Dhurandhar is
the perfect example of this synthesis. M. V. Dhurandhar was the first Indian
Director of Asia’s well known Sir J. J. School of Art. Over the past one hundred
and fifty years Indian Art went through evolutionary stages and the rebellious

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Progressive Art Moment of 1947 obliterated the ‘Bombay School’ completely
derived from the British Empire during the Nationalist Movement of freedom for
India, ‘Shantiniketan’ represented the national sprit against the ‘Bombay School’.
It was more a myth created by few to establish one’s patriotism. When we look
at the work of M. V. Dhurandhar’s career spanning nearly fifty years of how he
ventured through different art applications, against this backdrop his work
emerges as a truly Indian work fresh in style.
M. V. Dhurandhar at the Sir J. J. School of Art: Dhurandhar was born in Mumbai
(1867) at the house of his maternal
grand-father. His father Vishwanath
Dhurandhar was highly respected in
the princely state of Kolhapur. He was
Head clerk at the Kolhapur princely
state’s political office. It was the period
of the famous rebellious 1857 Indian
mutiny. The rebellious freedom fighters
were ‘hanged to death’ as they were
against the ruling British Empire.
Vishwanath Dhurandhar as the official
representative of Kolhapur princely
state’s political office arbitrated many
rebellious freedom fighters and helped
saved their lives from the punishment.
He served as a perfect coordinator between the British Empire and the Kolhapur
princely state.
He may have as a supporter of the British Empire since the Kolhapur princely
state was under their rule but his inner loyalty towards India’s freedom should
not be mistaken.
As a child, M. V. Dhurandhar came back to Kolhapur from Mumbai and studied
at the Rajaram High School located near the age old ‘Mahalakshmi Temple’. This
Temple is one of the classic examples of Indian Architectural Design. His
aesthetic sensitivity unknowingly developed in the vicinity of beautiful

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sculptures, traditional craftsmanship of the blacksmith,
potter, cobbler who meticulously crafted their artifacts.
Kolhapur princely state’s Abalal Rahman, the respected
artist and former brilliant student of the Sir J. J. School of
Art was his idol and inspiration whom he observed
keenly from a distance. When M. V. Dhurandhar
completed his matriculation examination of the Bombay
University in the year 1889 A. D., (The student should be
minimum 16 years old were eligible for the examination and were expected to
pass written and oral examination in English and Indian languages along with
mathematics. The successful students usually went for medicine, law,
engineering or arts and literature. Dhurandhar decided to join Sir J. J. School of
Art where drawing skills was the only criteria for the admission. M. V.
Dhurandhar in his time was the only student having better educated a student
amongst others. Students who came from illiterate but traditional art and craft
background. He was acquainted with Sir J. J. School of Art since he grew up in
the house of maternal grand-father in Mumbai as a child. Looking at the period
of the establishment of the Sir J. J.
School of art in 1857 and
Dhurandhar joining in 1890, he was
hardly 23 years old means we could
trace authentic earlier history from
his documentation in his
autobiography. He is the first- hand
witness of his times. Famous Indian Painter Raja Ravi Varma and his art, who was
senior to him had an influence on him during the student’s days. Dhurandhar
had the fascination of Raja Ravi Varma’s art because he presented Indian
mythological narratives in realistic
manner. The first British Principal of Sir J.
J. School of Art, John Lockwood Kipling
(father of Rudyard Kipling) and Griffiths
were his guiding teachers in art school.
John Lockwood Kipling was transferred
to Lahore in 1875 as its principal even

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then Dhurandhar followed his vigorous live sketching practice throughout his
life. Kipling did not teach him directly but Dhurandhar religiously adopted the
teaching methods of both i.e. Griffiths as well.
1892 A.D. as a student of the art school he received merit certificate of ‘Bombay
Art Society’ and was the first Indian to be honored during that time. This was the
beginning of the successful award winning future.
Dhurandhar completed his art education at the Sir
J. J. School of Art in 1895, immediately he began his
teaching career in 1896 and worked till his
retirement in 1931. He got married in 1895, a son
Ganpati was born in 1897 who latter completed his
M.B.B.S. medical education and settled as practicing
doctor. Bombay during plague epidemic in 1897
took a life of Dhurandhar’s first wife,
‘Bapu’, her dead body remained in the
hospital and he had to wait for a long time
for the discharge from the hospital. He
even in that sad situation did a quick pencil
sketch while the body laying on the bed.
This rare pencil sketch is published in the
book and was
displayed in the
exhibition. He was forced to marry again by elders in
the family in 1898 as his son Ganpati a year old child.
This second marriage changed his life for better,
second child Ambika a daughter was born. Ambika
Dhurandhar not only carried his legacy but became
herself famous artist. Painting by Ambika
Dhurandhar.
Different Epithet and social psyche: In colonial India ‘Rao Bahadur’ (being
“brave” or “most honorable”) title was conferred upon loyal Indians by the British
Empire for the services. “Rao Bahadur” Dhurandhar as honoured by the British

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Empire was looked down by the nationalists as pro-British. It
was a social practice to call the respectable publically persons
with some honorable titles such as ‘Lokahitwadi’, ‘Nyaymurti’,
‘Mahatma’, and ‘Lokamanya’. Dhurandhar’s contemporaries,
‘Lokahitwadi’ Deshmukh while serving in the British
Government was a reformer who advocated progressive
thinking brought by the British rule for a better future. He
advocated to get rid of the outdated traditional mindset.
‘Mahatma’ was the title given by the masses to Jyotiba Phule.
He was an open supporter of the British rule and stood firmly
on his beliefs that his hard working underprivileged class
called ‘Shudras’ should get the social-cultural justice denied
for more than thousand years in the past. He fought to
demolish age-old cast system divided in four categories.
Chaturvarnya of the Vedic period. Jyotiba Phule founded the
‘Satyashodhak Samaj’-the fact finding movement to bust
religious myths which oppressed the underprivileged class.
Shahu Maharaj the ruler of Kolhapur princely state (We do not
find a portrait painted by Dhurandhar of ruler being of that
place.), who was referred by the people as ‘Rajashri’, savior of
the people, especially the underprivileged class. ‘Nyaymurti’
(meaning the Honorable Justice of the court) Mahadeo
Govind Ranade being in the British
Services yet, he devoted his life to
uplift and reform the Indian people. Bal Gangadhar Tilak
was conferred by the title given by masses, ‘Lokmanya’
meaning acknowledged by the people from their heart
because of his social and political selfless contribution to
the society. Social and political reformer Gopal Ganesh
Agarkar was known as ‘Samaj Sudharak’. Dhondo
Keshav Karve who spent his entire life for the education
of women and their empowerment was known as
‘Maharshi’. M. K. Gandhi became ‘Mahatma’ who was
people’s leader. Gandhi preached his famous principle of

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non-violence became a world figure. He inspired many leaders and nations to
follow non-violence to achieve peace. In Maharashtra, people honored
‘Prabodhankar’ Thakarey who truly preached social reforms. ‘Lokanayak’ was
the title given by the people to Jayprakash Narayan who spent his life for the
freedom of expression. Today’s self-proclaimed titles like ‘Hindurudaya Samrat’
are indicating religious, rightest overtones create shallow cults. All these titles
are discussed here because a myth is created that ‘Rao Bahadur’, the title given
by the British Empire to artist M. V. Dhurandhar proves that he was an anti-
nationalist, completely ignoring his timeless contribution through his art who
‘Refined Applied Art and Classical Art of India.’ His work is sadly labelled as pro-
British. Fifty years after the death of M. V. Dhurandhar, an article by one of the
artists Prof. Dinkar Kawshik who in an article wrote that artist Dhurandhar was
favored by the British. It is an underestimating of his caliber. Kawshik
acknowledged the greatness of Dhurandhar with a prejudice mind. (Ref.
‘Vishrabdha Sharda’, volume three, pages 217/218). Such prejudices obscured
the legacy of M. V. Dhurandhar. During the time of Indian revolt of 1857, Sir
Jamsetjee Jejeebhoy, Jagannath (Nana) Shunkerseth and a few like them who
are known today as the architects of modern India were working with British
rulers keeping in mind the dream of Independent India without openly
confronting them. They built Indian Railway, Medical Institutions and Hospitals
and many more social Institutions which led the foundation of today’s modern
India. M. V. Dhurandhar had similar temperament who followed the nationalist
sprit that one can see in the ‘Romantic Realist’ exhibition at NGMA-Mumbai.
Anthropologists are known
for documentation and
study of humans, wild
animals, nature and their
activities to understand
evolution. Similarly M. V.
Dhurandhar did series of
sketches, drawings by
observing finer nuances of
life. Here one can see in

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these three visual examples: First one showing a traditional middle class woman
serving a sweets from the plate, depicting Indian hospitality and culture. The
second picture shows the woman wearing a blouse and the last one cleaning of
the bowels a routine moment in the morning. He designed several postcards
artistically where man-woman behavioral patterns and
relations through visual documentation which is a rare
socio-cultural record. These three sketches show the
subtle difference between the nude and naked. It has
reminded me ‘Man-Watching’ a book by Desmond Morris
on body language. Artist Dhurandhar had studied
human body language hundred years ago.
Chairman of NGMA Artist and Suhas
Bahulkar has organized the exhibition in
total eighteen sections covering the huge
canvas of artist Dhurandhar.
1. Inheritance of Dhurandhar,
2. Review: British Colonial Era,
3. Artists of the past, 4. Dhurandhar as a
student and his studies,
5. Dhurandhar a great visual narrator,
6. Art of Portrait painting,
7. Visual Time line documentation,
8. Nine women goddesses depicting
knowledge and Art through sketches and
paintings,
9. ‘My wife through my art lens,
10. An Alchemist of water colour painting,
11. Fertile abundance of sketches,
12. History of Chhatrapati Shivaji Maharaj through visual art,

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13. Landscape painting,
14. ‘Commercial Art’ refined
classical art form,
15. Passing on to the
generation next,
16. Dhurandhar and his
contemporary artists,
17. Royal court artist,
18. Historical documentation, various books and story illustrations, Applied art
and advertising, postcards as an art form, photographic album collections,
awards, honour seals and famous paintings from Bombay Art Society exhibitions
and biography.
Parallel Art Undercurrent: Dhurandhar was at the Sir J. J. School of Art during
1890
To 1931, first as a student and afterwards as a teacher which was a period of the
First World War.
British Empire had created three presidencies for administrative control all over
India, namely:
Madras Presidency: established in 1640, Bombay Presidency: established in 1687
and
Bengal Presidency: established 1690.
Bombay Presidency covered geographically from Sindh to Yemen.
Bengal Presidency was from Hikiharyabbarpktuha to Burma, Singapore etc.
Madras Presidency was from southern India, including the whole of the Indian
states of Tamil Nadu and Andhra Pradesh, and parts
of Odisha, Kerala, Karnataka and to the Lakshadweep.
Bombay Presidency was from Sindh to Yemen and
Sir J. J. School of Art was part of it. The artists of other presidencies, Actors, Dance
performers, Musicians and vocalists, Visual Artist and Film producers travelled
and performed through these provinces. Majority of the artist came from the
Bengal and Bombay presidency. Vocalist Pandit Paluskar and Artist-Vedic-
Sanskrit scholar Pandit S. D. Satwalekar were in Lahore. Vocalist Abdul Karimkha
and Drama Theater producer Annasaheb Kirloskar worked in Mumbai,
Karnataka, Dharwad, whereas Bal Gandharva performed in Mumbai and Pune

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and Dadasaheb Phalke worked as film producer in
Nasik and Mumbai. One can see Parallel Art Under
currents during artist Dhurandhar’s time. These
two British administered presidencies covered a
large area of India. Victorian Art and Crafts moment
had powerful impact on the Asian region for one
hundred and fifty years due to British Empire’s rule.
Did Victorian Art and Crafts moment did it really
percolate at the bottom? One can debate on this
question, but this needs to research academically.
After having seen the exhibition and his
biographical book ‘Kalamandiratil Ekkechalis Varshe’, I think Dhurandhar
surpassed this style and emerged with new style called ‘Bombay School’. Was it
pronounced out of British colonial impact? The various artists of this ‘Parallel Art
Undercurrent’ must be admired because they left the burden of nearly thousand
year’s conservative tradition and embraced the modern world. Amidst the socio-
political conflict for freedom and independence movement of Indians against
the British colonial rule, the debate continued - ‘Shantiniketan’ and academic
‘Bombay School’?
Global Different Art Styles/ different Arguments and Mahadev Vishwanath
Dhurandhar.
‘Bombay School’ evolved during the time of
artist Rao Bahadur M. V. Dhurandhar which
was an important milestone in the history of
Indian Visual Art. We can see how graphic
arts evolved from 1830 to 1980 on the global
canvas and its impact on Indian Visual Art.
The question remained, whether we were
just the imitators of Europe / America or
slaves in global visual art renaissance?
This exercise has been done to satisfy my
curiosity to know our place in the visual art.
The ‘isms’ in visual art not the product of

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artist’s whims but are spontaneous reflex actions
arising out of the environment / situations. Artist
applied the fundamentals of visual art, namely
Point, Mass, Line, Shape, Space, Texture, Volume
and Colour to interpret the feelings, emotions,
thoughts, desires etc. creatively. Either realistically
or in abstract, with the in context of time and
space.
He/She, intermingles with ‘shape’, ‘pattern’ and
finally arrives at a specific ‘form’ which becomes
the bench mark of that creator. This process, when
followed by others
independently, gives birth to various ‘isms’ in visual
art. There are other factors too which contribute to
this evolution of ‘isms’ in visual art in Europe.
We can trace them through the time line in context
of M. V. Dhurandhar 1867-1941: 1820-Death of
Napoleon Bonaparte, in 1828- Noah Webster
publishes his Dictionary. 1829-William A. Burt of
Detroit granted a patent on a Typewriter. 1830-
Victorian Art, 1840/1850-Victorian Art and Crafts
dominates till 1900, 1890- Art Nouveou to 1920,
Glasgow 1890 to 1920, Jugendstil 1890- to 1900

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and Dada 1890 to 1930. If we take the life span of M. V. Dhurandhar starting
from 1890 till 1930 one can relate the ‘Bombay School’ style, in which he worked
and understand and its evolution in the process.
Here I am attempting to do scrutiny of visual nuances in Dhurandhar’s work with
regards to global art movements depicted through ‘isms’ described above. This
is not a comparison but a search for parallels. The visual world of M. V.
Dhurandhar had had the impact of First World War in the British administered
India as an artist. He had to shuttle while working, between the classical arts and
applied art. The luxury of just living as fine artist wasn’t possible, because he had
also had to promote as an art teacher, ‘The Utilitarian Art’ concept in society
stating that art has a role to play in daily life. Art schools have played an
important role even during war crises. His canvas is large besides paintings
which covers applied art
namely: Calendars, Posters,
Postcards, Advertisements,
Letterings, Monograms and
Calligrams exploring letter
forms, Marriage Invitation,
Story illustrations, Expressive
symbolic illustrations, Book-
Cover Designs etc.
This article is focused on
applied art or what was
known in those days as commercial art. After Raja Ravi Varma in India, one can
certainly study, appreciate and research, as fine art and socio-cultural important
heritage document through M. V. Dhurandhar’s work in modern times. It gives
about the transition in art over the last hundred years.
M. V. Dhurandhar’s Ethical Purport Pictures and commentary on human
character:
It’s interesting to see Dhurandhar’s art of creative visualizing while viewing in
details the series of Ethical Purport Pictures and commentary on human
character. One such example is about the wife who detects thumb impressions
on her husband’s coat and takes her by surprise. The extra martial affair of her
husband suggested by depicting impressions on a coat shows Dhurandhar’s

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ability to create
humorous situations.
Here I wish to repeat
what is mentioned in the
title of this article i.e.
“Artist ‘Dhurandhar’ the
originator of ‘Refined,
Classical Applied Art in
India’!” We see in his
work, unlike his
contempories, who have ventured to explore in his own ‘Bombay School’ style in
several ‘commercial art’ now Applied Art media. (Print and Productions-
Publishing media before today’s digital electronics media) He was one of the
earliest (in Sir J. J. Art School-1890 A. D. to 1930 A. D.) who
attempted ‘The Utilitarian Art’ through ‘Bombay School
Style’ during the period when ‘The Industrial Revolution’,
(now also known as the First Industrial Revolution, was
the transition to new manufacturing processes in Europe
and the United States, in the period from about 1760 to
sometime between 1820 and 1840.) had just started in
Europe. (‘The Utilitarian Art’ evolved into communication
art, functional art, industrial design art etc. in later years).
British administered presidencies were having a circumference encompassing
north, west, east and south area of India. They quickly adopted the useful out
comes of ‘The Industrial Revolution’, like railways around 1850s for controlling
such geographically huge land. The British Empire all over the world was
benefitting by ‘The Industrial Revolution’. In this process India entered into
market oriented world. The birth of ‘Commercial Art’

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concept helped the producers/manufacturers to increase their visibility in the
minds of consumers/buyers for selling their goods. This has derived from the
concept of ‘The Utilitarian Art’ means art applied for commerce and industry. It
was already being in existence globally earlier due to need to communicate
effectively the demand and supply chain of consumers and
producers/manufacturers. The 20th century was a century that began on
January 1, 1901 and ended on December 31, 2000. It was the tenth and final
century of the 2nd millennium. It is distinct from the century known as the 1900s
which began on January 1, 1900 and ended on December 31, 1999.
This new age gave definition of ‘form follows function’ meaning in Architecture
and building constructions must be contextually designed with reference to its
function and concepts. ‘Form which is functionless’ is the opposite of ‘form
follows function’ this where Aesthetics and classical experience is important. No
message through shape is
expected. Abstract art is the
rebellious reaction against
Realism/Hyperrealism or
‘Surrealist’ realism. In the last
four centuries science has
become a part and parcel of
human civilization. The impact of it resulted in addressing hidden human desires
more rationally and creatively. Artist Dhurandhar studied and taught classical
art in expressive realism as a passionate visualizer. His Commercial Art was
addressing hidden human desires with aesthetic sensitivity in a classical manner.
Titled ‘Romantic Realist’ of the exhibition was
appropriate as the viewers could feel the romantic
realism which today one can enjoy in the beautifully

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designed coffee-table volume printed and published
by the Delhi Art Gallery under the editorship of artist
Suhas Bahulkar in 2018. I remember my Guru Prof.
Shantaram Pawar’s words who used to ask us, “Can
you draw a line? Can you encode it with meanings
attached to it? And finally can a viewer decode it and
take aesthetic pleasure without your assistance?”
This certainly true of Artist Mahadev Vishwanath
Dhurandhar’s work which gave me the actual
experience of the above words, without his physical presence around me today.
The vibrant sketches, vigorous colour application and compositions is the
essence of this rare art collection.
To sum up, Artist ‘Dhurandhar the originator of
Refined, Classical Applied Art in India’ what it
means to me? My exposure to the International
Graphic Design educational programme as a
senior faculty during 2001-2008 gave me
different insight to appreciate and critically
analyze the work of visual art. Looking at the
poster designs by Dhurandhar in 1924 for the
Great Indian
Peninsula Railway
(GIPR) are
interesting to study
from the view point of how he did the
amalgamation of Applied Art and Classical Art.
We can take a look at two poster designs ‘Visit to
Mathura & Vrindavan by GIPR’ has an Indian
female figure standing in the river water as a
devotee. If only this Indian female figure is
separated from the original poster it would appear
like an independent painting. It depicts human behavioral form combined in
painterly rendering, texture, colour scheme, and classical aesthetics. Every part

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can be scrutinized likewise of his entire applied
art canvas and his strong fine art roots are
visible. He created purport illustrations for
famous Sanskrit classic ‘Meghdoot’ by Poet
Kalidas which picks up the finer details with
appropriate emotions. Here again when viewed
by blocking text it gives the flair of painting
crossing the limitations illustration, it’s a
‘Bombay School’ in romantic realist expressions.
The experience is like ‘Visual sans Words’. His
biographical
documentation is
done by Fine artist
Suhas Bahulkar and
applied artist Deepak
Ghare in the volume
‘Drishyakala Khanda’
by ‘Vivek Sapatahik’-
published by
Hindustan Prakashan-
Mumbai which covers researched information of
fine art, sculpture, applied art and cartoonists.
It’s a visual history of Maharashtra of last nearly
two hundred years. I have express my gratitude
towards artist Suhas Bahulkar and applied artist
Deepak Ghare for insightful guidance to write
this article.
*Kindly note that all images are copy right with
following respective publication, art gallery and Intuitions mentioned herewith.
They are used for academic purpose only. I acknowledge following References
with gratitude.
(We can read detail account of his memories in the auto-biography
‘Kalamandiratil Ekkechalis Varshe’-Forty one years in Sir J. J. School of Art, for

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him it’s like Temple of Art. It was published in 1941
which is reprinted recently by Majestic Publishing
House, Mumbai and updated with new
information under the editorship of Deepak Ghare
in 2018.) Some time ago a scholarly article on
Abalal Rahman was written by famous Indian
painter Prof. Baburao Sadwelkar which is also a
good document. Contemporary famous artist
Suhas Bahulkar (Maharashtra) wrote series of
researched articles on him. He along with Deepak
Ghare edited a volume of visual art of Maharashtra
covering nearly two hundred years, biographical
encyclopedia of Artists in Maharashtra in Marathi-
2013, published by
Vivek Sapatahik of
Hindustan Prakashan
which also notes many
researched details of
artist Abalal Rahman to read.
1. Kalamandiratil Ekkechalis Varshe: Ra.
M.V.Dhurandhar, first edition1940, Wagle Process
Studio and Press-Mumbai, Reprinted by Majestic
Publishing House edited with new notes by
Deepak Ghare in 2018. Second Edition. Publisher Ashok Keshav Kothale.
2. Postcard Paper Jewels, postcards from Raj Author – Omar Khan, Mapin
Publishing House Pvt. Ltd. 2018.
3. M. V. Dhurandhar – Romantic the Realist, Author- Suhas Bahulkar, DAG, Delhi
Art Gallery. Published 2018.
4. Graphic Style from post Victorian to postmodern by Steven Heller and Seymour
Chwast, by Thames and Hudson Press-1998.
5. Man Watching –field guide to human behavior- Author Desmond Morris,
Published 1977. 6. All slides courtesy: NGMA and DAG, Delhi Art Gallery.

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Following books were illustrated by M. V.
Dhurandhar:
1. Women in India- Otho Rothfield.
2. Deccan Nursery Tales-C. A. Kincaid.
3. Tales of Vikramaditya- C. A. Kincaid.
4. ‘By the ways of Bombay’- S. M. Edward
(Police Commissioner of Bombay).
5. ‘Desire of All Nation’-(Bible) George
Francis Enoch.
6. People of Bombay- Miss Olivia Strip.
7. ‘Omar Khayyam’-(Originally Urdu)-
English Translation by Fitzerald.
8. Mircchakatic (Toy Cart)-Shudraka.
9. Shri Shiva Chhatrapati Charitra-Men and Women in Indian History- Published
by Shreeman Purshottam Vishram Maoji. For the same publisher’s ‘Swarnamala’
magazine in 1901 A. D. to 1914 A. D. he illustrated on the subjects : Ramayana,
Mahabharata, Bagvat, Bhagavad-Gita, Ganesh Puran, Shiva Puran, Vishnu
Puran, Gitgovind by Jaydev.
10. He illustrated for various languages namely English, Hindi, Marathi,
Guajarati, Telgu and Urdu magazines.
11. He illustrated different text books published by
Longmans Greens & Co, MacMillan & Co.
I became curious to know about the origin, history of Sir J.
J. School of Art and its educational vision/mission as
mentioned in the letter by Sir Jamshetji Jeejebhoy
addressed to the British Rulers in 1853. The focus was on
the concept of ‘The Utilitarian Art’. While studying these
four authentic books available on Sir J. J. School of Art,
helped my study with authenticity.

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1] Kalamandiratil Ekkechalis Varshe: by Raobahadur M. V.Dhurandhar, first
edition1940, Published by himself and printed by Wagle Process Studio and
Press-Mumbai,[Marathi language] This is a personal biographical information
documented earlier yet it does not directly mentions the South Kensington’s
context, but discusses many indirect connections. The original copy of the book
was out of print so it is now reprinted by Majestic Publishing House edited with
new notes by Deepak Ghare in 2018. Second Edition. Publisher Ashok Keshav
Kothale.
2] History of School of Art edited by N. M. Kelkar, published by Government of
Maharashtra-India in the year 1957. This book records/documents very clearly
about the South Kensington’s context, imparting art education syllabus in the
beginning during artist M. V. Dhurandhar’s time.
3] Annals of Applied Art edited by P. D. Abhyankar and published by Sir J. J.
Institute of Applied Art while celebrating its silver jubilee in 1960. This book
records/documents very clearly about the South Kensington’s context to Sir J. J.
School of Art. This book narrates the transition of then [CAS] ‘Commercial Art
Section’ of the Sir J. J. School of Art to present Sir J. J. Institute of Applied Art
covering 1935 to 1960 period.
4] “Marathi Niyatkalikantil Drushyvichar” edited by Rameshchandra Patkar and
published by Jyostan Prakashan-Pune/Mumbai, in 2009. This book published the
original letter of Sir Jamshetji Jeejebhoy addressed to the British Rulers in 1853.
-------------------------------------------------------------------------------------------------------------
This information taken from GOOGLE SEARCH.
How did the South Kensington System come about?
“Well … it has more to do with manufacturing and industry than people realize.
Problems Started to be raised as early as early as 1820 with imported goods
gaining larger market share because they were better designed than the British
counterparts. To counter this manufacturers started to employ foreign designers
but this was not a long term solution as a better arts and design education
system was needed. At the time the Royal Academy of Arts was the main

19. 19
institution for art education but it had become a tightly knit, inflexible, elite
group of men who controlled the gates of the profession vigorously. Following
the Great Exhibition of 1851 where British design was perceived to be
inadequate and following a Parliamentary inquiry into the state of Art Education
the South Kensington System was established. This “Diagram showing the
harmonious relationships of colour” was used as a teaching aid in about 1853.
Today the colours look quite muted but it aims to
illustrate what colours would go together. It was
accompanied by The Elementary Manual of Colour
written by Richard Redgrave who drew up first
curriculum of the National Schools of Art when they
were established. John Ruskin, did not like the South
Kensington system as he believed that copying and
tracing stifled imagination and he started The Ruskin
School of Drawing in 1871. That is another story. The
South Kensington School in London, became the Royal
College of Art (RCA) in 1896. At the time it shared space
with the South Kensington Museum that became the Victoria and Albert
Museum in 1899.
The controversy at the school in 1845 was about the
Headmaster and his teaching methods, but reflected wider
issues about the aims of the school in terms of the balance
between fine art and applied and commercial art and
design. These questions were to remain a perennial bone of
contention for at least another century, and are a recurring
theme in Christopher Frayling's 1987 history of the College.
The new teaching methods implemented by Burchett were themselves to
become a matter of controversy.
The school had been founded in 1837, as the Government School of Design,
occupying part of Somerset House on the Strand, until the space was needed for
the Register of Births, Deaths and Marriages. It became the National Art Training

20. 20
School in 1853, moving to the equally palatial setting
of Marlborough House, thanks to Prince Albert, leaving a
section just for training art teachers on the Strand, and
establishing a separate "Female School" in Gower St, from
1861 Queen Square, Bloomsbury. In 1861 the main school
moved again to buildings adjoining (and now absorbed
by) the Victoria and Albert Museum in South Kensington,
and long after Burchett's death it became in 1896 The
Royal College of Art. It is often referred to as the "Government Art School", and
later the "South Kensington School", in the 19th century (the school was at
various points divided into different sections, such as the "Female School", also
under Burchett, and there were also science schools run by the Science and Art
Department, hence the plural).
The main art school in London was the Royal Academy Schools, which made
space for the new school by its decision to vacate Somerset House for the
new National Gallery building, where it stayed until 1867. They had been
established decades before the Government School, to provide a full training
in Academic art; by the 1830s the majority of successful English artists had
trained there. The Government School was funded by the Board of Trade, and
intended, at least by them, for different purposes, though precisely what these
were remained a political battleground for decades. The school was not founded
to train academic painters; this at least was clear, although in fact many ex-
students became just that. The Government had recognized that British
industrial design was falling behind that of the Continent, and believed that the
training of designers was worth public subsidy. Later, a national network of
schools to train students in applied art and design
was established, and the central London school
was both to be the flagship of the network, and to
train teachers for the rest of the schools.
Botany Diagram, about 1855 by Christopher
Dresser to illustrate his teaching at the school, V&A
Museum.

21. 21
William Dyce was the first Director, and Burchett studied under him, and then
worked with him as a colleague, until Dyce left in 1848. The Isle of Wight
paintings from 1855 suggest the two remained friends.
After the internal disputes of the 1840s, the school acquired a firm sense of
control and direction when in 1853 the Government placed it under the control
of Henry Cole, for whom the Science and Art Department was set up, with a large
tract of land, and much of the large profit from the 1852 Great Exhibition to
spend. Cole was an extremely dynamic figure, with some training as a painter,
and experience as an entrepreneurial designer of china. He made the young
painter Richard Redgrave, master of botany at the school since 1847, responsible
for the superintendence of the national system, and appointed Burchett as
Headmaster of the London School.
Redgrave, drawing on Dyce's ideas, and propelled by Cole, set out the "South
Kensington system", a highly specific syllabus for the teaching of art, which was
to be dominant in the UK, and other English-speaking countries, at least until the
end of the century, and not to entirely vanish until the 1930s. Burchett was the
first to implement the course in London, and worked with Redgrave in drawing
it up - Redgrave had much less teaching experience. Burchett's published
lectures reflected the system, and were widely used as text-books for it; how far
he was involved in devising it cannot be said.
The full course was divided into twenty-three stages, most with several sections.
Different types of students were to take different combinations of stages:
"machinists, engineers and foremen of works" should take stages 1–5, and then
skip to the final 23rd stage, "Technical Studies", while designers and "ornament
lists" took most stages.
There were several types of students, pursuing different courses: the "general
students", who paid no fees and were given a small living allowance, training to
be teachers of art (though many ended up elsewhere), the "National Scholars"
intended for industrial designers, and fee-paying students, pursuing a course
more oriented to the fine arts. Latterly these were in fact the majority. Women
pupils were taught at least partly separately, and their life classes consisted of
drawing a man wearing a suit of armor. The Royal Academy Schools did not

22. 22
accept women students until 1861, although there were other alternatives for
women. The female school, under Royal patronage, became a rather fashionable
place for young ladies, able to support its expansion by society fundraising.”
This internet information I could not validate
from any of UK’s library, which has created
more questions in my mind. The Poster given
herewith design by unknown student some
eighty years ago during the formation of the
Sir J. J. Institute of Applied Art from the
‘Commercial Art Section’ of the Sir J. J. School
of Art known as “CAS”, shows nearly ten +
departments in the art school.
The annuals of ‘CAS’ rename ‘SHILPANJALI’
from 1945 to 1994 are shown here to
illustrate the visual transition. [Courtesy: Prof.
Rajadhykasha, Late Prof. Nagvekar and Sir J. J. Institute of Applied Art]
This was still 1935 before Sir J. J. Institute of Applied Art became as an
independent institute in the School of Art campus, series of questions arise in my
mind about original educational syllabus in the year 1857, when Sir Jamsetjee
Jejeebhoy, Jagannath (Nana) Shunkerseth both had the definite vision about
empowering Indian traditional artisans [Paramparik Kalakar, Ref: Indian
Artisans: courtesy: Bhau Daji Lad Museum-Mumbai] against the big Industrial
Revolution in UK and EUROPE. In a book “Kalamandiratil Ekkechalis Varshe: by
Raobahadur M. V.Dhurandhar, first edition1940, describes few details about art

23. 23
syllabus but could not document from where it came? Was it a hurried decision
by the British Administration imposed on the art school administration? Why no
one took the lead to customize the art syllabus with reference to global context?
Sir Jamsetjee Jejeebhoy (Born: 15/6/1783,-MumbaiandDied: 14/4/1859),
Jagannath (Nana) Shunkerseth (Born: 10/2/1803,-Mumbai and Died:
31/6/1865) both were aging by the actual art school began. The original letter
by Sir Jamsetjee Jejeebhoy addressed to British Government is now available
which clearly says Indian traditional art and Industry combination is expected as
vision and mission about the prosed art school. Was it a confusion or dilemma in
the minds of British about which Indian Art? India has been invaded for
thousands of years by foreigners. They came with their respective cultures which
are absorbed by the time they left this country. The true identity of Indian Art is
difficult to rationalize which has influenced each other over the time. The
original vision and mission visualized by the founders that of empowering Indian
traditional artisans is it diluted in the course of time? Who was the first who
coined the term ‘Bombay School’ before artist Dhurandhar’s work was defined
into this style?
Raja Ravi Varma (Born: 29/4/1848,-Killimanoor, Died: 2/10/1906 at Killimanoor
Palace.) was trained by a European artist. He created his own Ravi Varma Style.

24. 24
The period in which M. V. Dhurandhar was
student at the art school, could we say that he
was trained under The South Kensington
System? This system was implemented till 1928
when Captain Gladstone Salomon decided to
introduce Indian Art elements in the curriculum.
Dr. Hunter the principal of ‘Madras (Chennai)
Art School had already incorporated Indian Art
elements in the curriculum earlier.
Famous French Artist Henri Marie Raymond de
Toulouse-Lautrec-Monfa (Born: 24/11/1864,
Died: 9/9/1901) was contemporary to M. V.
Dhurandhar (Born: 1867, Died: 1941) and both
ventured from classical fine art to Applied Art. Here are two Poster Designs
created receptively by Dhurandhar and Toulouse-Lautrec and let us look at the
parallels between the two posters. Dhurandhar created poster for the promotion
of Indian Railway during British Rule in vernacular Marathi language which is
inviting tourist to travel. The occasion is ‘Ashadi Ekadashi’ a festival of
Maharashtra – which is yearly ritual by the common people walking towards
‘Vithoba’ Pandharpur temple. It’s a pilgrim reciting verses by poets like
Dnyaneshwar, Namdeo, and Tukaram etc. The
poster depicts ‘varkaris’ common people walking
and reciting. Its artist Dhurandhar’s illustration
that crosses the border and appears like painting
if one take a closer look at it. Colour scheme is
warm and festive in mood offering concession in
rates. The title is superimposed on the painting
for easy communication of the message.
Another poster designed by French artist
Toulouse-Lautrec shown here is about famous
French concert of ‘Moulin Rouge’. Its French
traditional pleasure/leisure time, wine and
dance. Artist has depicted the visual showing

25. 25
the dance and party in action. When both the posters are viewed of the
contemporary artist as parallels one can see the depictions of their respective
regional cultures. What is common in both is the painterly qualities both have
displayed. This is what I call refined classical fine art Applied for communication
art. Dhurandhar was communicating his visuals under Victorian British Rule
while Toulouse-Lautrec in the free democratic atmosphere. The recognition both
received are different in global canvas. Toulouse-Lautrec as Art Nouveou artist
and Dhurandhar as Victorian arts and craft artist. (Time line: 1830-Victorian Art,
1840/1850-Victorian Art and Crafts dominates till 1900, 1890- Art Nouveou to
1920)
Let’s see two visuals shown here. First one is an
illuminated page from the book and second is
from the newspaper advertisement during
1850s to 1890s. In both decorative
ornamentation is common. This was a visual
style to express the protest against industrial
mechanization. William Morris (Born:
24/3/1834, Waltthamstow.UK, Died:
3/10/1896, Hammersmith, London, UKs) who
was a British textile designer, poet, novelist,
translator
and socialist
activist
associated with British Arts and Crafts
movement was a major contributor to revival of
traditional British textile arts methods of
production. He encouraged the natural
elements like leaf, fruit, flowers etc., to be
incorporated in major visual arts so that
traditional artisans would survive against the
aggressive industrial mechanization. The
newspaper advertisement is so visually

26. 26
descriptive we can literally understand the advantages if we use ‘compound
cream of ammonia’ in a bath room.
When looking at the William Morris’s efforts I remember the original letter
addressed by Sir Jamsetjee Jejeebhoy to the British Government in 1853, which
clearly says to protect traditional Indian artisans while opening the proposed Sir
J. J. School of Art. He had envisioned the combination of Industry and Traditional
Indian artisans’ future.
‘The South Kensington System’ was it a curse or blessings? We are still confused
even though multiculturalism is our truly asset. We still sadly debate and
confront on FINE ART AND APPLIED ART. Adarkar and his paintings, Govind
Bhadsavle and his landscape shows Drawing and Painting roots. The
presentation bellow shows birth of Applied art and the pioneers.